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Du kan spela i mobilcasinot med både iPhone, iPad och en mängd olika android-enheter. I mobilcasinot finns populära spelautomater som Mega Fortune Toucy, Gonzo’s Quest Touch och nya Steamtower från Net Entertainment. I skrivande stund finns över 100 casinospel i mobilcasinot, men mobilcasinot kommer utökas i framtiden. This series had a two-fold purpose: to illustrate to white viewers the ramifications of chronic American racism, and to show African American their legitimate place in the United States and in the world. The first goal was accomplished most powerfully in the premier broadcast, "Black History: Lost, Stolen, or Strayed?" With Bill Cosby narrating in a tone of understated impatience, viewers encountered the distortions of black history so long accepted by the white majority. Cosby quoted historical inaccuracies from one of the most popular college textbooks. He raised to consciousness the names of black achievers that history books seldom mentioned. But most memorably, Cosby presented a lengthy procession of excerpts from Hollywood films illustrating the dehumanizing stereotypes of African Americans that Caucasian moviegoers had accepted for so long. Importantly, it blamed white racism for the violence of black protest. "What white Americans have never fully understood—but what Negroes can never forget," the Commission reported, "is that white society is deeply implicated in the ghetto." The report continued online slots 777, "White institutions created it, white institutions maintain it, and white society condones it." Black spokespersons had long contended that African-America was different from white America. John Oliver Killens promoted that idea when he wrote in 1970 that "White writers, intentions notwithstanding, cannot write about the Black experience, cannot conjure up a true Black image, cannot evoke the wonderful—sometimes terrible—beauty of our Blackness. only club members can sing the blues because we're the ones who paid the dues—of membership in the Brotherhood of Blackness." During this period of what Variety termed "video's rush to black," each network produced at least one distinguished series surveying a wide variety of relevant topics. None was more striking than the seven-part CBS production gratis casino wisconsin, Of Black America! As revealing as these documentaries were, they were among only a small number of nonfiction broadcasts devoted to black issues. For several reasons, however, commercial TV rediscovered African-American problems in 1968, when an unprecedented number of news documentaries poured from the networks. One reason for this reevaluation was the issuance of the Kerner Commission report. Government officials called in network executives for lengthy meetings on the report, urging them to devote more coverage to the nation’s racial unrest. This was also an election year, and the candidates—particularly Robert F. Kennedy—were particularly vocal regarding such problems. Nonfiction TV examined the African-American condition from various angles: housing and employment discrimination, the decay of the American city, legal inequality, police brutality in the black community, and the future of blacks in the United States. No program was more compelling, however, than the discussion of "Bias and the Media" aired June 27 as part of ABC's six-part study of American racism, Time for Americans. At the request of Harry Belafonte online blackjack with live dealers, the guests were separated handy home products, allowing black speakers to make their charges on a first program. White defenders responded two weeks later on a second program. In the first installment svenska casino niagara, a national audience heard a bitter complaint about the lack of opportunity in the entertainment field for minorities. The four black guests were Belafonte, Lena Horne, Harvard sociologist Dr. Alvin Poussaint, and poet-scholar Lawrence Neal. Belafonte attacked the lack of black input in network programming, the failure of TV to utilize black talent besta casino 50th, and network preoccupation with profit margins instead of human concerns. Horne assailed the advertising industry for not selling black performance to advertisers. While Poussaint seemed more moderate in his perception that black achievers in entertainment were still the exceptions, Neal angrily noted that until blacks possessed their own stations and networks, the problem of bias would persist. There is a great temptation to become shrill about what happened here in Detroit in July. That is a temptation we wish to avoid. Today, more than at any time any of us can remember, is a time for truth, and hysteria is no friend of truth. Some of what you will see may make you angry. But if it does no more than make you angry, we will have failed in our purpose. If it does not expose you to the desperation that breeds the outrageous and lawless things being said and done by some Negroes, if it does not impress you with the absolute urgency of relieving that desperation, we will not have communicated what Black America is trying to tell White America. For we believe that the greatest single need in America today is for communication between blacks and whites. But there can be no communication between minds closed by anger. Even earlier a white writer, Arnold Perl in his East Side/West Side episode "Who Do You Kill?," had George C. Scott speak similar words to James Earl Jones: "I don't know what any man would say who looks like I do. I don't think any white man knows what it's like, the life of a Negro—sympathize, project, understand, but know?" Other installments in the Of Black America series dealt with the accomplishments of African-American athletes, musicians, and soldiers. One featured a conversation between black leaders Floyd McKissick and Congressman John Conyers, and two African statesmen, Tom Mboya of Kenya and Dr. Alex Kwapong of Ghana. Another treated the history and legacy of slavery which, in its contemporary manifestations, ranged from a black militant declaring that "Mississippi is gonna either have to change or there can be no more Mississippi," to a white Chicagoan proudly describing himself as a "practicing bigot." While there were fewer documentary considerations of black social problems after the early 1960s, nonfiction television did offer several significant reports. These broadcasts, moreover, reflected the directions and relevancy of the civil rights movement by this date. An NBC Special on June 11, 1967, "After Civil Rights. Black Power," contrasted the views of radicals like McKissick and Carmichael with moderates like King and Charles Evers of the NAACP. The white backlash phenomenon was treated in two outstanding CBS Reports programs: "Ku Klux Klan" on September 21 casino on oasis of the seas, 1965, and "Black Power—White Backlash" on September 27, 1966. Figure 11.1: TV not only covered the inner-city rebellions as they erupted, it occasionally predicted their occurrence. Six months before the Harlem riots casino 50th birthday party ideas, CBS Reports looked frankly at "The Harlem Temper." Aired on December 18 slots las vegas free games online, 1963, this documentary looked at the poverty and frustration in the New York City ghetto. It showed the recruiting under way for direct action groups like the Congress on Racial Equality, and for the nationalist Black Muslim religion. The program warned that as Harlem blacks became increasingly disenchanted with the pace of social progress, extremist solutions became more attractive. Similar praise and criticism were heard about the video coverage of the San Francisco rioting. During that violence, TV newsmen were so close to the action that several were attacked and beaten. Station automobiles and television equipment were destroyed by rioters. However, in addition to showing the riot in progress, San Francisco TV lent itself as a forum for the discussion of ideas and for pacifying communications from Mayor John F. Shelly. At the request of Governor Edmund G. Brown, a major league baseball game between the San Francisco Giants and the Atlanta Braves was televised from Atlanta, even though it was not scheduled to be seen in San Francisco. The fairness with which local TV handled the violence prompted Dick Gregory to remark that "compared to the bigotry and blindness of other riot cities, this honestly is something else." Also of importance was "Same Mud, Same Blood," an NBC News Special aired December 1. It concerned the role of black soldiers in Vietnam. Focusing on the Army's 101st Airborne Division, its battle scenes made this more an antiwar program than a discussion of integration in the military. There were pictures of an integrated platoon being led by an African-American sergeant, but as Variety reported, "the blood and the mud—the plain inferno—which emerged in the pure graphics of the piece indeed swallowed the race theme." Riot cities were frequent topics immediately after violence exploded. Even months after such outbursts, their implications continued to be explained. Such was the case with the CBS Reports program, "Watts: Riot or Revolt?" aired on December 7, 1965, four months after racial rioting in the Los Angeles ghetto resulted in 35 dead and 947 wounded. The degree to which leaderless blacks remained segregated within American society was powerfully summarized in the Kerner Commission report published in 1968. Responding to urban violence, President Johnson in July 1967, had appointed a Commission on Civil Disorders to analyze the causes of the rioting. Headed by former Governor Otto Kerner of Illinois, the commission discovered a society drifting headlong toward apartheid. "Black History: Lost, Stolen, or Strayed?" hit a responsive chord with the American public. Its writers, Perry Wolff and Andy Rooney received Emmy awards. The episode was so well received that CBS reran it in prime time three weeks later. The program was later sold on 16 mm film to high school and college film libraries and is still seen by thousands of students yearly. However, juxtaposing these older film segments with scenes from Guess Who's Coming to Dinner —a recent motion picture in which Sidney Poitier played a young physician in love with the beautiful daughter of a liberal white couple—the program suggested that a new world was in the process of being born. What had been billed as a discussion became a heated denunciation of the white-dominated mass media for their "viciousness and bestiality" toward African Americans. To critic Les Brown, "It was as though the stopper has been pulled on years of bottled-up resentment." And when six white representatives of the mass media—including two ABC executives, an official from an advertising agency, and three journalists —made their response on July 11, another reviewer concluded that "if their confused nya yahoo finance, naive rationalization of the status quo plus slow progress constitutes the sum of media corporate policies on the race question. equality is not even on the American agenda." 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